Gus Van Sant on Finding the Underdog in Luigi Mangione‘s Story
Gus Van Sant, a director known for portraying involved outsiders and oddballs in films like Drugstore Cowboy and the landmark New Queer Cinema work My Own Private Idaho, found a compelling subject in the true story of Luigi Mangione, the focus of his latest film, Dead Man’s Wire. While Van Sant has frequently explored true crime – previously with works like the tabloid satire To Die For and the Columbine-inspired Elephant (which earned the Palme d’Or at Cannes in 2003) – he admits a consistent thematic pull. He believes his interest in the genre stems from “the underdog fighting his way out” of a difficult situation.
For the role of the underdog in Mangione’s story, Van sant chose Bill Skarsgård, having previously observed his work in It and Nosferatu. The director noted skarsgård’s tendency to select ”horror projects,” a choice Van Sant felt might have a psychological influence on the casting. Adding to the connection, van Sant had previously collaborated with skarsgård’s father, stellan Skarsgård, on Good Will Hunting. He was ”curious to see whether there would be any similarities” in their working styles, recalling the elder Skarsgård as “very up for almost anything that we were wanting to do,” and “very adventurous.” He found Bill Skarsgård equally adaptable, and appreciated his ability to inject humor “to cut the tension.”
Central to Dead Man’s Wire is the evolving relationship between Mangione and his hostage, a connection visually represented by their being physically chained together for much of the film. Van Sant emphasized the actors’ organic growth of this dynamic. “There wasn’t any talk literally about the common ground they were finding,but they [Skarsgård and Montgomery] were doing it on their own throughout the rehearsal process,” he explained. He credited their experience and skill with naturally fostering the necessary communication between the characters.
The film’s production operated under a remarkably tight 20-day shooting schedule.Van Sant had only one day dedicated to scenes featuring Al Pacino, who portrays Mangione’s father communicating with his son while on vacation in Florida. pacino’s experience allowed for a streamlined process; frequently enough, a single take was sufficient. despite concerns from department heads about the pace, Van Sant remained unfazed, stating, “I didn’t feel it, really. I can go fast,” a sentiment reinforced by his experience directing the even more rushed Feud.
To capture a 1970s aesthetic within the limited timeframe, Van Sant relied on cinematographer arnaud Potier. Potier sourced period video cameras for the news footage from a rental house. Van Sant encouraged a spontaneous approach, instructing Potier to “Just grab everything really fast and handhold the cameras,” and offering minimal direction, preferring to observe what unfolded. He utilized multiple cameras – “at least three to five…rolling at all times” - not to expedite shooting, but ”just as a way to capture things that were going on.”
Reflecting on his four-decade career, beginning with the micro-budget Bad Night, Van Sant sees each film as a unique opportunity for experimentation. He has navigated between critically acclaimed successes like Good Will Hunting and Milk, independent projects like Gerry and Last Days, and unconventional works like his shot-for-shot remake of psycho. “I think every film for me is such a different opportunity to use things that you haven’t used before, to try things out,” he said, leaving audiences to wonder what new territory he will explore after Dead Man’s wire.
